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Miro Magloire's New Chamber Ballet in a Premiere to Music by Ryan Brown

Miro Magloire's New Chamber Ballet in a Premiere to Music by Ryan Brown

Company:

MIRO MAGLOIRE'S NEW CHAMBER BALLET

Location:

City Center Studio 5, 130 West 56 Street

Dates:

Friday, February 10, 2017 - 8:00pm daily through February 11, 2017

Tickets:

www.newchamberballet.com

Company:
MIRO MAGLOIRE'S NEW CHAMBER BALLET


MIRO MAGLOIRE'S NEW CHAMBER BALLET IN A PREMIERE TO MUSIC BY RYAN BROWN
Friday & Saturday, February 10 & 11 at 8 PM
City Center Studio 5, 130 West 56 Street
Tickets: $29; $16 for students/seniors
Reservations: 212.868.4444  or  www.smarttix.com
Dancers: Sarah Atkins, Elizabeth Brown, Traci Finch, Cassidy Hall, Gracie Holway, Amber Neff
Musicians:  Melody Fader, piano         Doori Na, violin



Miro Magloire presents his New Chamber Ballet in a program of Magloire works to music by Michel Galante, Friedrich Cerha, Rebecca Saunders, Beethoven, and a world premiere to music by Ryan Brown, February 10 & 11, 8 PM, in the company's home base of City Center Studio 5, 130 West 56 Street.

Originally trained in his native Germany as a composer, Magloire is known for his eclectic taste in music and his ballets to scores by contemporary composers.   The world premiere, as yet untitled, is a quartet set to "Ceramics" for solo piano by contemporary composer Ryan Brown, whose music has been performed around the world by Kronos Quartet and the NY Phil Biennial, among many others.  He  received an Emerging Composer Award from the Gerbode and Hewlett Foundations and was a finalist for the Gaudeamus Prize.  In addition to composing, Mr. Brown is Executive Director of San Francisco's Switchboard Music, an innovative music presenter, and serves as Associate Dean at the San Francisco Conservatory of Music.

The company will repeat the November 2016 premiere of La Danse, set to a score by Michel Galante, commissioned with a grant from the O'Donnell-Green Music and Dance Foundation.   Magloire and Galante have enjoyed a very productive collaboration, having worked together on two previous ballets.   The young composer/conductor has been awarded prizes from the Fulbright, Hertz, and Mellon foundations, ASCAP and the Composer's Guild, and looks forward to conducting the St. Petersburg Chamber Philharmonic (Russia) and the Orchestra Nazionale Artes (Italy).

Gravity, premiered in 2015, was created as a birthday tribute to composer Friedrich Cerha on the occasion of his 90th birthday.   The venerable Austrian composer is best known for finishing the orchestration of Alban Berg's opera Lulu after Berg's death.  "Gravity played with shapes," noted Mary Cargill, "as the three dancers formed and reformed groups of two and one, falling and being supported as their bodies merged and melded with an astringent lyricism."  (danceviewtimes.com, November 28, 2015)

Anna's Last Day is set to Duo for Violin and Piano by Rebecca Saunders, a young English composer living in Berlin.   The title character in this dramatic dance, consumed by guilt over the death of her sister, goes on a harrowing and ultimately fatal trip down memory lane.                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                   
For his delightful Fast Forward, Magloire selected Beethoven's Rondo for Violin and Piano, brilliantly played by Doori Na and Melody Fader.  The trio of dancers "rush about the space in speedy (even risky) combinations," noted Philip Gardner.  "The breathless quality of the movement is a fine response to the zesty drive of the Beethoven."   (oberonsgrove, January 2105)

Costumes are by longtime New Chamber Ballet collaborators Candice Thompson and Sarah Thea, who "deserve much credit for their accomplishments that range from the classic loose dresses in the first ballet to the highly styled black leotards of Friction."  (Mari S. Gold, www.newyorkarts.net, June 20, 2015)

 

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